Two kneeling winged figures in niches on the first level of this design flank a tree growing at the top of a small doorway. These elements are contained within a larger structure with pilasters and a coifered ceiling. Above the ceiling are two winged figures holding small branches. Situated directly above the tree on the first level are a coat of arms surmounted by a crown and another, larger crown sits above the architecture.
This design for an altar combines both classical and Christian emblems. An architectural setting shows two niches, each occupied by two kneeling angels. Between them, growing at the center of a broken pediment, is a plant--perhaps a reference to Christ as the Tree of Life. Above are two classical winged nike/victory figures, each also holding a branch with leaves.
A scene of figures in doorways and examing goods outside a store occupies the lower portion of the image while the architecture--windows, downspouts, signs, and string courses creates a rectilinear framework of the second floor.
During the 1880s, Whistler was executed images of shop fronts throughout London, particularly in Chelsea. Maunder's Fish Shop was shown in paintings as well as in this lithograph. In these works he explores the lively street life with shoppers, children, and merchants against the regular rhythms of the architecture that extends above them.
A young man leans against a stone ledge and gazes to his right. He wears a slate blue jacket with a white collar and cuffs and has a matching mantle. He casually hooks a finger of his left hand in the hilt of a sword that hangs at his waist. A plain stone column immediately behind the sitter creates a near silhouette of the shadowed side of his face. A hazy sky fills the background.
This unfinished half-length portrait represents Lord Charles Spencer, second son of the third Duke of Marlborough, leaning against a stone ledge in a pose of casual refinement. While the sitter's face is constructed from small, careful brushstrokes and is defined by smooth gradations of light, his garments and hands are painted with great fluidity and the forms are fashioned through dramatically juxtaposed passages of color and shadow. The subtle sophistication of the painting--evinced by the expertly balanced tonalities and the skillful evocation of depth--contribute powerfully to the impression of relaxed elegance in the sitter.
Lithograph with a large number “three” that dominates the composition outlined in black with areas of white outline on a taupe background with black squiggly lines throughout.
Johns developed the form for “Figure 3” from a commercial stencil, and transformed the everyday symbol into an art object. By representing a widely recognizable subject, he challenges the viewer to see something new and to question accepted conventions of representation.
Three main figures (two men and the camel they are riding) are brought to the foreground because of the contrast between their light colors against the stark green hill. The hill dominates the background leaving only a little bit of blue sky visible in the top corners. Underneath the main figures a secondary white dog and rabbit are also prominent.
Two men, equally overdressed, ride a self-important camel. Underneath them their hunting dog attacks a rabbit. Behind them is a tree-covered hill in the background. Given the specificity of the men’s faces, this may be a double portrait, but their identity has yet to be ascertained.
The background of this print is covered with whitish paint or gesso that reveals the texture of the canvas, brush, and its application. Where material has been applied to the canvas there are small wrinkles. Dashes of black paint appear on the lower two thirds of the collage. What looks like a signature is in the bottom left.
Ink, watercolor and gold on paper. Central figure, Vishnu with devotees on his right and left. Male figures are located on the left side of Vishnu and the female figures on the right. The animals are depicted on the lower half of the portrait which goes with traditional hierarchical beliefs. The tiger is on the left and the elephant on the right.
Appart of a series of works by Bilvamangala, a devotee of Vishnu who wrote sets of devotional poems. The series as a whole presents scenes of Vishnu being worshipped in his many forms. Here he appears as Krishna, worshipped by gopis (cow-herders, identifiable by their sticks), women, a nonchalant tiger, and an elephant.
A stylized human head with an elaborate coiffure, sitting atop a larger animal head with scarification marks below the eyes, tops a well-carved staff with angular handle and a zig-zag carved pattern below the handle. The eyes of both figures are set in shallow cavities and appear squinted or closed.
Finely carved staffs (called "kooko" or "nhkuumbu" in the local language) display their use as symbols of a chief's authority. Reference to leadership and the elders is also made in the variations in coiffure and headgear that represent the distinctive hairstyles of previous generations of chiefs. Among the Yaka, living elders and chiefs were regarded as repositories of supernatural powers, who can protect against evil as well as withdraw their protection in case of disobedience or disrespect.
Gilt and lacquered wooden table of ten-piece altar set. Not including the base, the set is designed in three rows, which simultaneously recede from the viewer and increase in height, culminating in one central table that rises above the rest allocated for a statue of the Buddha. Each table is carved along the edges in stylized floral and leaf patterns coated with gold gilt. The wood surfaces of the tables are coated in red lacquer, and with the exclusion of the short, wide base, each table in the set includes a mirror designed to face the viewer.